I think of my paintings as fragmented inventories of distorted realities and dreams. I prefer imagery that is a little mysterious, not entirely descriptive, and even possibly uncomforting. As a result, my main interests lie in twisting that which is morbid, uncomfortable, or undiscussed and making it beautiful in such a way that the viewer does not feel the desire to look away, despite societal and cultural expectations to do otherwise. I play on these human desires for beauty by way of seductive, mood driven colors and contrasting discomforting subject matter with a consistently serene, minimalistic style. The end effect has a dream-like surreal quality, suggesting notions of calmness and safety despite the aggressive and violent subject matter.
As far as how my work is viewed, I am interested in the myriad of interpretations viewers may take away from my work, particularly through their choice of language when describing the work. For example, the content and interpretations vary greatly as evident in something as simple as the language individual viewers may use to describe how the person is surrounded by the plastic: wrapped, confined, nestled, entangled, trapped, ensnared, caught, stuffed, cocooned, etcetera. Such language greatly influences how art is viewed; therefore, unlike my previous works I do not assign explanatory/ narrative titles other than sequential orderings (i.e.: “Vinyl I,” “Vinyl II,” etcetera) or no title at all, as is often the case with my ceramics.
In regards to the relation between my paintings and ceramic pieces, I see each medium as a means of expressing the duality that is me. While each of my artworks is the product of varying amounts of intellect and intuition, painting feels more cerebral for me whereas my intuition guides me more when working with clay. The recurrent elements I use in both forms though are expression of light and shadow. I also apply principles of balance, emphasis, and proportion to both methods of creation. In each work, my overall subject and focus is with a membrane like structure (i.e.: the vinyl surrounding the person in my paintings and the clay itself with my ceramic pieces). This “membrane” can masquerade between the spectrum of harmful or peaceful, threatening or non-threatening, depending on the work and viewer’s response. Such a mutable subject allows for numerous interpretations, which I thoroughly value and embrace.
As far as how my work is viewed, I am interested in the myriad of interpretations viewers may take away from my work, particularly through their choice of language when describing the work. For example, the content and interpretations vary greatly as evident in something as simple as the language individual viewers may use to describe how the person is surrounded by the plastic: wrapped, confined, nestled, entangled, trapped, ensnared, caught, stuffed, cocooned, etcetera. Such language greatly influences how art is viewed; therefore, unlike my previous works I do not assign explanatory/ narrative titles other than sequential orderings (i.e.: “Vinyl I,” “Vinyl II,” etcetera) or no title at all, as is often the case with my ceramics.
In regards to the relation between my paintings and ceramic pieces, I see each medium as a means of expressing the duality that is me. While each of my artworks is the product of varying amounts of intellect and intuition, painting feels more cerebral for me whereas my intuition guides me more when working with clay. The recurrent elements I use in both forms though are expression of light and shadow. I also apply principles of balance, emphasis, and proportion to both methods of creation. In each work, my overall subject and focus is with a membrane like structure (i.e.: the vinyl surrounding the person in my paintings and the clay itself with my ceramic pieces). This “membrane” can masquerade between the spectrum of harmful or peaceful, threatening or non-threatening, depending on the work and viewer’s response. Such a mutable subject allows for numerous interpretations, which I thoroughly value and embrace.